Matt Workman

Kino Flo Celeb: Augmenting Natural Daylight

http://www.cinematographydb.com/2015/11/kino-flo-celeb-augmenting-natural-daylight/

I posted on this forum years ago when I was struggling with lighting a daylight loft music video. I didn't understand how to use large light sources and I didn't know what size HMI's I needed to balance the existing daylight.

I wanted to share something that covered the concept of base exposure. I'd love to hear your feedback.

Cheers,

Matt

How to Control a Large Light Source

http://www.cinematographydb.com/2015/11/how-to-control-a-large-light-source/

In this tutorial I share my process for lighting a scene with a large light source and then controlling the unwanted spill.

I'd love your feedback on the tutorial and the illustrations. There has been some really great discussions on Reddit and directly on the post.

Cheers,

Matt

Hey,

I wanted to share a new intro level cinematography course that I produced with Digital Tutors / Pluralsight. I use my Cinematography Design to illustrate and some important fundamentals of composition and camera movement.

Cinematography: Intro to Composition and Camera Movement

http://www.digitaltutors.com/tutorial/2335-Cinematography-Introduction-to-Composition-and-Camera-Movement

Cheers,

Matt

How slow are you interested in?

I've been shooting more and more high speed for commercials. But that tops out around 2000 fps.

Here is an interview I did with DP Sean Conaty and how he accomplished a 2000fps spot.

http://www.cinematographydb.com/2015/11/smashing-phablets-at-2000fps-with-dp-sean-conaty/

Cheers,

Matt

Which software are you using for this? Some of them have surprisingly accurate lighting simulation now.

 

P

Hey, I'm using Maya+Arnold. That is the same combo that The Mill, MPC, and several other big shops use for their renders. My lighting sims are getting more accurate as I develop the plug-in. I only recently figured out how to simulate real world diffusion.

Gravity, Antman, Gaurdians of the Galaxy etc.

https://www.solidangle.com/gallery/

Creating Magic Hour on a Stage

http://www.cinematographydb.com/2015/10/lighting-techniques-creating-magic-hour-on-a-stage/

Check out my latest tutorial on creating magic hour lighting from scratch on a sound stage. I learned all of these combine techniques from multiple DPs, gaffers, and key grips. I hope you find it helpful.

The illustrations were created in Maya with a Plug-In that I'm developing for cinematographers to be able to shoot and light in 3D for preproduction.

I'd love any feedback you have or suggestions for future topics.

Cheers,

Matt

Here's your demonstration in real life. We created this tutorial a few weeks ago.

 

https://vimeo.com/139154021

 

 

Stuart

--------------------------

illuma.blogspot.com

Very cool, I've seen your stuff online before. That is a great demo, nothing beat seeing it in real life! Do you follow Shane Hurlbut and Shane's Inner Circle? He has some great IRL demo tutorials.

The setups we'll be doing later on virtually would be very expensive to produce in real life. Are you going to be producing more in this series?

Oh, hey Ed. That's a surprise!

 

Also, great Tutorial @Matt!

Thanks, appreciate that. I heard from a member of Shane's Inner Circle that Mr. Dave Mullen used this same technique at the ASC Master Class recently.

http://www.cinematographydb.com/2015/10/lighting-basics-diffusion/

 

:)

Yeah, that was an earlier tutorial. Even since this one was produced, I've made my diffusion simulation more realistic. I can pretty faithfully mimic what the different flavors of diffusion do.

You could surely use any 2K light for this rather than just an Arri T2.

I mean you could surely use some kind of PAR or open face light for this as the fresnel lens seems a bit surplus to requirements.

This might mean you could get away with a lower powered light too. Maybe even an 800W Red Head.

 

Freya

I agree, for the sake of being specific I chose a modern unit though. I'm not currently planning on modeling any of the old Ianiro lamp heads.

http://www.cinematographydb.com/2015/10/lighting-techniques-chimera-and-12x12-diffusion/

I'm posting a new Cinematography Design Tutorial every Friday. This week I show a technique for creating a large light source. I'm starting with really basic/fundamental techniques and the moving into full on lighting setups.

I'd love to get the feedback from the members of this forum. I've learned so much of what I know right here.

Cheers,

Matt

Check out our interview/article with cinematographer Rachel Morrison and her experience shooting Jennifer Aniston for the film "Cake"!

http://www.cinematographydb.com/2015/01/the-cinematography-of-cake-dp-rachel-morrison/

We'd love to hear your feedback and please go see the film in theaters.

Cheers!

Matt

In this article I interview DP Ketil Dietrichson on his use of LOMO anamorphic lenses and beauty lighting to shoot Ariana Grande.

http://www.cinematographydb.com/2014/12/cinematography-ariana-grande-love-harder-dp-ketil-dietrichson/

Check out our 3D interactive lighting diagram and let me know what you think!

Cheers,

Matt

@David Mullen: Those are some really awesome practical tips about shooting near mirrors, or in any "backstage" environment. I did a commercial where we were craned down with a Hollywood make-up mirror in the background and you saw the camera, the crane, and all of the bright lights. They painted it out of course, but I heard that it was pretty expensive.

Check out my latest breakdown of the film Birdman, shot by Emmanuel "Chivo" Lubezki, ASC, AMC. I'd love to hear you feedback!

http://www.cinematographydb.com/2014/11/cinematography-birdman-emmanuel-lubezki-asc/

Cheers,

Matt

Hey!

It's been a while but I wanted to share this Cinematography breakdown of a Taylor Swift's "Shake It Off" music video shot by Jeff Cronenweth, ASC.

Cinematography of Taylor Swift "Shake It Off" shot by Jeff Cronenweth, ASC
http://www.cinematographydb.com/2014/10/cinematography-of-taylor-swift-shake-it-off-jeff-cronenweth-asc/

Let me know what you guys think about the breakdown.

Cheers,

Matt

Hey!

I've updated this to v2.0, it includes alot more cameras including the BMCC and most Canon and Sony cameras.

It also adds the ability to add focal length, aim, and camera scale.

http://www.mattworkman.com/2014/01/04/previs-camera-tools-v2-0-for-maya-mel/

Cheers,

Matt

Hey James,

Yeah I should probably add a couple cameras to the list like the BMCC, Phantoms, etc.

I'll post when I update it.

Cheers,

Matt

Hey Guys!

I created a 25' technocrane that is pre-rigged for animation and that has a script node that handles the telescoping of the arm automatically.

https://vimeo.com/73018940

Download the file and read more at my website:

http://www.mattworkman.com/2013/08/24/matt-workman-previs-tools-technocrane-25-v1-0-maya-mel/

Cheers, :lol:

Matt

Hey!

For those of you interested in Previs and virtual cinematography I wrote this script for Maya that automates creating cameras spec'd to the Arri Alexa, Red Epic 5k, and Red One 4k.

Blog Post:

http://www.mattworkman.com/v7/2013/08/11/previs-camera-script-1-0-maya-mel/

VIMEO LINK:

https://vimeo.com/72235622

I'd love to hear you comments from fellow previs artists or cinematographers.

Cheers,

Matt

Hey Guys!

Please watch this video released by the ASC and share your opinion.

https://vimeo.com/44477302

There are many many more if you are interested:

https://vimeo.com/theasc

Cheers,

Matt

Hey,

I like the on black performances the best. The color mix and grading look great, the C300 can definitely hold color information.

I've done my share of streak filter music videos, though I've never used the Optefex, I think the "new" Tiffen company is making them too. I think I saw something about them in the new ASC mag. They will never flare like an actual anamorphic lens (Panavision, Hawk, etc.) so they do end up looking kind of similar. A real flare looks different depending on where it is in the frame and how far the source is from the lens.

phil thompson: The flare/streak look is here to stay. Zeiss is making a new set of anamorphic lenses and they are most likely going to flare like Pana-Cs or Hawks. JJ Abrams likes them and so do the bulk of the top pop/rock/rap directors.

Cheers,

Matt

https://vimeo.com/45262629

"ISCORAMA + HOBOKEN + JULY4TH"

A little short I put together from the 4th of July 2012. Shot in Hoboken, NJ.

Canon C300 @ 16,000 ISO

ISCORAMA 50mm f2.8 Anamorphic Lens

Graded in Apple Color

It's hard to see the grain structure in the vimeo compression, but the Canon C300 has a really filmic Kodak 500ASA feel.

Cheers,

Matt